'Wildefire' Hampstead Theatre **

Should playwrights be writing pieces of theatre about the emergency services, and how their competence can become conflicted after a dreadful experience on the job? The Hampstead Theatre's recent production of Ray Williams’ ‘Wildefire’ conveys the life of one particular policewoman, but one found the play to be truly disappointing, and the characterisations were off-colour for one's fondness. ‘Wildefire’ is set within a South London council estate, where crime is exceedingly recognisable, and that the treatment of the police appears tense constantly. Moreover, we are welcomed with the presence of fiery policewoman, Gail Wilde, whose sizzling persona has given her the nickname, “Wildefire” by her fellow male colleagues, but due to the contemporary world of modern policing, it seems that the characteristic may not be as professional and appropriate to ensure her work is completed with attentiveness. In the course of one of our investigations is to see whether Kristal, a rather tattered young woman on the council estate is in fact suffering from domestic abuse, Gail startlingly mentions that Kristal should intimidate her partner in the hope that he will hurt her, and an enquiry can commence. It suggests that Gail is particularly corrupt, and her morals are non-existent, this includes her role as a wife/mother as she frequently misses her daughters’ football match, which upsets her husband, and with such abandonment as one of the family, he requests for a divorce. On the contrary, during one of the intense riots on the council estate, Gail’s working acquaintance, Spence is brutally murdered, which leads to Gail to instil a verse of rage, and she is on the defensive relentlessly after such an event. Williams’ narrative is rather disjointed as it seems that he tries to force too many scenarios into 85 minutes, and I could not fully engage with Gail’s journey as there are far too many characters onstage. One found the performances by the company of ‘Wildefire’ are vastly satisfactory as it looked too dull, and somewhat boring. Lorraine Stanley is unbecoming as the rampant, Gail; especially the moment where we see her unprofessionalism display with Kristal, as well as her scenes with her husband where their marriage is at the final straw. Ricky Champ is somewhat mediocre as Gail’s work companion, Spence; explicitly when he's massacred through one of the riots, in addition, the aftermath of Gial who comforts him in his final moments were quite touching, but not that emotive as you'd hope it would be. Sharlene Whytte is suitable as Spence’s adoring wife, Maxine; clearly when she's grieving after her husband's death, and the moments where she sings at his funeral is moving, to a certain degree. Maria Aberg's direction is passable here as the understanding of the dangerous employment within the police service has been explored with an acceptable level of precision and interrogation. Naomi Dawson's design is increasingly insufficient here for a Hampstead Theatre production, as one found it incredibly challenging to focus on one specific element at one time due to the troublesome concept and comprehensive analysis of the actual subject. Overall, one found the experience of ‘Wildefire’ to be inadequate, and not very worthy for the Hampstead Theatre. Thank goodness it's only on for a limited run.  

'The Bus' Above The Stag Theatre ***

Coming out as either a gay, lesbian, bisexual and transgender to your family and friends is most definitely one of the toughest experiences one has to go through; principally when you're a teenager. London’s only LGBT theatre, the Above The Stag Theatre's current production of James Lantz’s, ‘The Bus’ was immeasurably hard-hitting and poignant. ‘The Bus’ is set within a small American town during the 1980s where two teenage boys, Ian and Jordan, who in a world where sexuality cannot be acknowledged decide to show their affections to one another on an old and dilapidated church bus that’s situated in the grounds of a petrol garage. We grasp that their passion radiates categorically tenderly when they cuddle and kiss, on the other hand, due to Ian's religious upbringing, their coupling needs to remain concealed from the boy’s parents. Thankfully, it appears that Ian's mother, Sarah does not know that her son is gay, and in a relationship with a boy, so Ian presumes that he is in the clear, for the time being. Nonetheless, on one particular evening when Ian and Jordan are sharing an intimate moment, they hear that Ian's father, Harry the proprietor of the petrol station is endeavouring to see what one of the problems there are with the rusty bus, and this causes the two teenage boys to panic as they think that they will be found out. Luckily enough their presence is unnoticed, additionally their relationship is kept immensely quiet at school, and Ian even expresses that Jordan shouldn't communicate with him during this time. Progressively, Ian grows frustrated by the churches lack of advancement, of course due to the acceptance of the gay community, so any wreaks revenge by driving the bus into the church, and setting it ablaze. Regrettably, Ian's parents, and Jordan believe he is deceased, however this is untrue, and once Harry realises he is alive, he makes it clear that Ian is not wanted in his life, and logically Ian is increasingly upset. Lantz’s narrative is well-established, as we observe the confidentiality of a relationship of two teenage boys, who are coming to terms with their sexual preference, and the acceptance is enormously difficult to comprehend during the time period. One found the performances by the company of ‘The Bus’ were vastly emotional, and portrayed with excellent care and ease. William Ross-Fawcett is splendid as the fearful, Ian; in particularly when we see his anxiety increase when his father is checking the bus when he and Jordan are having one of their adoring instances. Kane John Scott is vivid as Ian's lover, Jordan; especially when we see his cheekiness exude during the scenes at the school, and how he doesn't appear too bothered if they get caught out by anyone, as he's quite pleased with his sexuality. Robert McWhir’s direction is spectacular as his comprehensive understanding of the subject feels surely polished, and the depth of the emotional aspects of the performance were thought of with serious intent and purpose. David Shield’s design is acceptable, but one found it problematic to understand as to where the action is taking place, and the scene changes were underdeveloped. However, the textures within the signage were quite appealing. Overall, one found the experience of ‘The Bus’ to be extremely enjoyable, and an amazing representation of LGBT theatre. A definite ticket purchased here I think.  

'The Play that Goes Wrong' Duchess Theatre ****

When theatre productions massively falter, it’s usually the critics who inevitably destroy and revel in such damnation's, but when the entire premise of the play is to express such instances openly is a work of pure comic brilliance. ‘The Play that Goes Wrong’ that is presently charming audiences at the Duchess Theatre suggest the amateur sector ought to avoid the privilege to perform on the West End stage. Conceived by Henry Lewis, Jonathan Sayer and Henry Shields, we are believed to be witnessing Cornley Polytechnic Drama Society’s production of ‘Murder at Havisham Manor’ was packed full of disasters from the very beginning when sections of the set start to disintegrate due to a lack of care and attention from its stage manager, and a member of the audience, who is then left on the stage alone. In addition to this, the calamities include such instances where the sound/lighting operator forgets to press the correct switch on sound cues, and hints of Duran Duran songs plays, which obviously creates an amusing affect. Moreover, we witness the rapid decisions that directors have to come up with when one member of the cast experiences an horrific injury, whilst on stage, and this is hilariously conveyed when the stage manager, Annie Twilloil has to perform as the vivacious, Florence Colleymore. The play allows us to see the struggles of the director, Chris Bean has bestowed upon himself as not only the director of the peace and actor, he is in fact the designer, prop maker, dramaturg etc. As well as, due to the gargantuan amounts of catastrophes that transpire from the show, he fundamentally breaks down, as his production is doomed entirely. Lewis, Sayers and Shields narrative is excellently amusing, as a concept of a play within a play shows how plays can unfortunately go completely wrong, and it's really interesting that their script began its journey at the sixty seat, Old Red Lion Theatre, in Angel. One found the performances by the company of ‘The Play that Goes Wrong’ were brilliantly rib-tickling and wonderfully characterised during the entire production. Henry Shields is transcendent as the disheartened director, Chris Bean; especially when we see him attempt to fix a number of disasters that exude through the horrid production that he has created, also his breakdown elements were really funny too. Nancy Wallinger is delightful as the haphazard stage manager, Annie Twilloil; in particular her transformation as the lead female, Florence Colleymore, as well as it was highly charming to observe her enjoyment on stage, and dislikes it when the original actress regains consciousness. Jonathan Sayer is exceptional as, Dennis Tyde; such as when he uses such force to make sure his character Perkins was powerful, and his movements were well executed throughout this comic performance. Mark Bell's direction is brilliant here, as you are able to see the destruction of an amateur production within a West End stage, and the attention to detail within the slapstick comedy was phenomenal which was positively received due to the rapturous audience reactions. Nigel Hook’s set design is beautiful as you can see the haphazard perception of amateur company’s admiration of their work. Furthermore, it appears that there has been a considerably fruitful collaboration between himself and Bell, as it’s very near perfection. Overall, one found the experience of ‘The Play that Goes Wrong’ was excellent, and extraordinarily hilarious. Well recommended.

'Speed-the-Plow' Playhouse Theatre **

One sometimes becomes flabbergasted by the West End’s casting of non-dramatically trained actors who do not comprehend the intensity of the process, and the revival David Mamet's 1988 play, ‘Speed-the-Plow’ most definitely depicts this with the tragic casting of Hollywood brat, Lindsay Lohan. ‘Speed-the-Plow’ is set within the office of Head of Production, Bobby Gould, who is frustratingly on the lookout for his latest blockbuster, and his long-time collaborator, Charlie Fox enters to explain that illustrious actor, Doug Brown has asked for a meeting with the two of them, in the hope that they can produce this film. Contrariwise, it appears that Brown has been sharing his ideas with a neighbouring studio complex, and has set Bobby and Charlie a deadline to consent on the deal by 10 o'clock the following morning. However, Bobby’s temporary secretary, Karen arrives with the coffee, and the two of them, along with Karen discus the history of the movie industry, which ignites her appetite for literature. Sadistically, Bobby probes Karen to read a novel, claiming that it's a “courtesy read”, and during an evening at Bobby’s apartment, Karen presents a radiant evaluation of the book. We then see Bobby’s sickening way of seducing his employees, and suggest that if Karen has sexual intercourse with him, that he would decline his involvement with the Brown script, in favour of the radiation concept that Karen has comprehensively evaluated. Outrageously, Karen learns that Bobby has been dishonest with the work she has undertaken, and her work inevitably was worth nothing, as well as, Karen is not as innocent either due to the affair she had with boss the previous night. Fundamentally, after a vicious bloodbath between Bobby and Charlie, they smarten themselves up and meet with Brown to seal the contract. Mamet’s narrative is exceptionally tedious and uneventful, as the notion of a play conveys the debauchery of the movie business is far too boring.  In addition to this, the dialogue really lacks imagination and cohesiveness. One thought that the performances by the company of ‘Speed-the-Plow’ were offensively shocking, due to a lack of creativity from its questionable Casting Director by Maggie Lunn. Lindsay Lohan is heinous as the temporary secretary, Karen; especially her voice that sounded too breathy, and her emotional capability appears incredibly melodramatic and uninspiring throughout. Richard Schiff is pedestrian as the repellent, Bobby; in particular the scene when they character is attempting to flatter Karen, and the fight element was vastly terrible, and falsely un-naturalistic. Nigel Lindsay is substandard is Bobby’s associate, Charlie; specifically his American accent was seriously disappointing and unrealised, and again the fight aspects were horrendously awful and underwhelming. Lindsay Posner’s direction is lacklustre here as one found the subject of the behind-the-scenes aspects of the process to be disengaging, and poorly apprehended. Moreover, his direction was probably the foulest in his incredible career as an outstand director. Robert Innes Hopkins’ designs are immensely woeful as one could see that the attention to detail looked too glitzy, even for me. This was likely as a way to decrease the focus of a performance that demeans the wonderful industry that is theatre. Overall, the experience of ‘Speed-the-Plow’ was an unbearable one, so don't go to the Playhouse Theatre currently.

'Unidentified Item in the Bagging Area' Old Red Lion Theatre **

The Off West End and Fringe sectors within London’s theatre industry often pose a problematic application into the sporadic quality of their productions, and the Old Red Lion Theatre’s current performance of aspiring playwright, Sarah Simmonds’, ‘Unidentified Item in the Bagging Area’ was one that never liberated the topic with a well-considered approach. ‘Unidentified Item in the Bagging Area’ is set around the post-menopausal state that women have to go through during their fifties, and how this expected change can influence marriages to eradicate quite suddenly. Victoria Burnham, a fifty-year-old woman is severely fed up, and obviously post-menopausal is unhappy with her husband’s constant ignorance towards her, and his main priority that concerns his garden, and their sex life is non-existent. In addition to this, her son has now ventured off to university to begin his adult life, which leads to Victoria to feel unacknowledged by her family, and she requires a lifestyle change that allows her to appeal gratified with the future. Thankfully, when she decides to attend a meeting with other post-menopausal women, she is introduced to extroverted, buoyant and exceedingly independent Meg, and her life will never be the same again. Meg welcomes us into an environment where any situation can occur; such as running a sex chat up hotline called Mature Madams. Victoria soon overlooks her husband’s presence, and painstakingly leaves her spouse to live more independently, but this plan and fundamentally actioned decision enables Victoria to learn that her spouse is suffering with the life-threatening disease that is cancer. Simmonds’ narrative lacks an array of cohesive structure as it shows that focusing an entire play on the subject of the post-menopausal stage was too far to peeving, and needed enormous amounts of revisions. One found the performances by the company of ‘Unidentified Item in the Bagging Area’ were mediocrely characterised, and the portrayals poorly interrogated the emotive context of the performances, and the dialogue was delivered with limited vocal panache unfortunately. Jenny Oglivie is unexciting as the central protagonists, Victoria; in particularly when we see her passion exude when she tries to be a sex chat up line female, and her facial expressions lacked a real sense of emotion. Paddy Navin is disappointing as the apparently confident, Meg. One found her comic timing was flawed as the audience seemed to respond extremely negative to such moments; moreover, her movements were mind- numbingly disgraceful. John McAndrew is satisfactory as Victoria’s husband, Jeremy; especially the aspects when Victoria and we learn of his upsetting poor health, and his desire for his wife’s return is somewhat agreeable. Louise Shephards’ direction is rotten here as the connection between the company appears under rehearsed, and one found it was not as engaging as one hoped it would be. Kay Howie Nunn’s design is intriguing as we are transported to many locations with acceptable precision, and it slightly vibrates one's happiness throughout this vile performance. Overall the experience of ‘Unidentified Item in the Bagging Area’ was appalling, and a real disappointment for the Old Red Lion Theatre’s quality of theatrical work.

'Uncle Vanya' St James Theatre ***

More often than not, certain plays become revived relentlessly, and contextualised to appeal to contemporary audiences, and Anya Reiss’ new version of Anton Chekhov's classic text, ‘Uncle Vanya’ is now bidding to engage audiences at the St James Theatre. Unfortunately, one found it does not fully achieve these aspirations as there's far too much melodrama acting, and not enough emotional capability. ‘Uncle Vanya’was first performed in Russia during 1899, and conveys how families conflict with one another, and how anger can strengthen one man into miserable state. The play it in the country state of the somewhat elderly gentleman, Serbryakov, along with the family of his first wife appears to be satisfied with his control, as they respect is intentions. Nonetheless, Vanya seems exceedingly frustrated by Serbryakov’s presence and his position of the man of the house as he knows that this role should inevitably be his. In addition to this, Vanya, and the rest of the family are becoming increasingly lethargic as their daily activities are continual, and there appears to be a lack of excitement within their lives. We observe a romance develop between the doctor, Astrov and Vanya’s sister, Sonia, but due to both their inhibitions, the only apparent passionate moment between the two of them is when they casually share a bag of Tyrell’s salted crisps. Sonia is slightly concerned with both Astrov’s and Vanya’s alcoholism, because they consume an array of alcohol products nearly all day, every day. Vanya himself is frequently despondent with his life prospects as his place as head of the family, and head of estate has been overhauled by Servryakov, which leads to his anger increasing, and inescapably causes him to explode by demanding that he, and is youthful wife to leave the house, and never return. This plea is actioned at the finale. Reiss’ interpretation of Chekov’s narrative is rather satisfactory for ones liking as the emotional capacity through the character of Vanya and Serbryakov does not stimulate ones engagement. On the other hand, some elements were amusing, however this is particularly rare. The performances by the coming of ‘Uncle Vanya’ were suitably pleasing through carefully considered portrayals as these roles have been constantly played by different people since its first production over 100 years ago. John Hannah is excellent as the central protagonist, Vanya. One found his despairing moments when he thinks his life is not worth living was singularly unsettling to witness, and suggest a negative consequences to alcohol. Jack Shepherd is gracious as the false head of the house, Serbryakov; especially when we see his plan to turn the estate into a prospective business to diminish, and his horrifically poor health has some unfortunate situations in his current marriage. Russell Bolam’s direction is acceptable here as an enormous amount of both emotive and comical elements appeared underdeveloped and the consistency needed more dramaturgical investigations. Janet Bird’s design is interesting as one appeared to be transported to the fraught atmosphere between Vanya and Serbryakov, as well as the entire family and acquaintances. Overall, one found the experience of ‘Uncle Vanya’ to be of a courteous standard, and an amiable contextualisation, despite the lack of cohesive emotional and comical moments.

'Grand Guignol' Southwark Playhouse ***

What happens when you combine both horror and comedy together to devise a thrilling experience? Southwark Playhouse's current production of Carl Grose’s, ‘Grand Guignol’ was one that features some chilling elements, but an array of such aspects lacked some sophistication. ‘Grand Guignol’ first premiered at the Theatre Royal Plymouth studio theatre is set within the Parisian theatre of horror the Theatre du Grand Guignol, which demonstrates not only the theatre’s impressive repertoire, but the work that happens backstage. Dr Alfred Binet, a panicky psychiatrist is an enormous theatre enthusiast, is presently conducting an intensive study into the traumatic experiences within a playwright’s life can have a humongous effect on his work. During the course of one of the theatres shows, Max Maurey, the theatre manager believes that the doctor is a theatre critic, because he's taking notes throughout, when Dr Alfred reveals he is genuine occupation as an academic practitioner, Alfred requests an interview with the theatres resident playwright, Andre De Lorde. The discussions between Dr Alfred and Andre establishes Andre’s piercing pain radiates through his father's fierce nature when he was a child, and the presence of his father generates the concepts of the work that he writes. Andre encourages Dr Alfred to collaborate with him, and write a play together. As well as, we come to learn that Dr Alfred’s childhood has prompted his enormous amount of anxiety, because of frequent bullying he had inflicted on him when he was at Boarding School. Grose’s narrative is tolerable as the play does stream quite naturally with the processes of each performance that the Theatre du Grand Guignol presents. Paradoxically, one found it required further fluidity within some of the horrific scenes. The performances by the company of ‘Grand Guignol’ were categorically watchable as we can fundamentally observe a wondrous camaraderie within the theatre’s company of actors and crew. Matthew Pearson is noble as the unnerved, Dr Alfred Binet; especially when we see his ferocious wrath shatter when he is confronted by the supposed appearance of the chartered bully who tormented him. Jonathan Broadbent is decent as the somewhat mentally unstable playwright, Andre De Lorde; exclusively when the ghost-like figure of his nasty father forcefully plagues him to write countless scary plays, and his pretentious characteristics were exceptional. Andy Williams is intriguing as the theatre manager, Max Maurey; in particular when he advocates his protection of his beloved venue, and his constant bribery to the theatre critics were extremely comical as one often wonders when I may be enticed. Simon Stokes' direction is acceptable here as you are allowed to see how special effects are constructed within the theatrical art, and how companies of actors and crew seem to bond quite meticulously to conceive and produce the plays. Alex Doidge-Green’s designs are opulent as it accompanies not only the processes on the proscenium arch, but the action in front of the curtains too. In addition, one admired the scenic art elements within this performance; such as the cloth of the blue skyline. Overall, one found the experience of ‘Grand Guignol’ to be vastly worthy, and even though one has been somewhat critical about the performance, it should be witnessed.